As a seasoned TV critic with over two decades of experience under my belt, I must say that “No Good Deed” is a rollercoaster ride of twists and turns that keeps you guessing until the very end – or at least until the final credits roll.
As Netflix’s movie “No Good Deed” progresses, Lydia Morgan (played by Lisa Kudrow), who was once a renowned pianist but now finds herself in the chaos of trying to sell her house, ponders over another escalating incident and lets out a deep sigh, expressing her regret and disbelief that such an event is happening yet again.
“I Can’t Believe It’s Happening Again!”
The title “No Good Deed” might be more fittingly changed to “I Can’t Believe This Is Happening Again, Too.” Despite its efforts to maintain an unyielding pace that makes “Dead to Me” seem laid-back compared to “Somebody Somewhere,” this eight-episode series strongly resembles a companion piece. It seems to uphold Liz Feldman’s distinctive style, where hidden secrets and surprising plot twists are as integral to the humor as slapstick was for the Three Stooges.
Similar to “Dead to Me,” the movie “No Good Deed” seems overly proud of its narrative ingenuity to a fault. When every scene aims to be surprising, nothing ends up being truly shocking.
Similarly to shows like “Dead to Me,” “No Good Deed” takes advantage of its central plot’s dramatic foundation to provide rich, emotionally diverse content for a talented cast. While it may have some implausible twists and turns, if you look beyond them, the humor offers insightful reflections on how grief and secrets can shape a relationship, as well as sharp critiques about the dismal situation of the Los Angeles real estate market.
Lydia is married to Ray Romano’s character, Paul, and they are putting up for sale their 1920s Spanish-style house located in Los Feliz. This house, which also served as Paul’s childhood home, was where they raised their own kids, creating a multitude of joyful and heartbreaking memories within its walls.
The property is available through enthusiastic realtor Greg (Matt Rogers), who eagerly anticipates a swift transaction and a substantial paycheck. The market for this property caters exclusively to secretive couples, who might be hiding potential relationship-straining truths.
Leslie (Abbi Jacobson), a lawyer, and Sarah (Poppy Liu), a doctor, seek a bigger home to share their lives in, following unsuccessful IVF attempts. On the other hand, Carla (Teyonah Parris) and Dennis (O-T Fagbenle), who’ve been married for just a year and are expecting a baby, also require a larger space, as his mother (Anna Marie Horsford’s Denise) might move in. Living nearby are JD (Luke Wilson), once a soap opera star, and his wife Margo (Linda Cardellini), who is energetic and desperate for attention. They’re also interested in the house, although Margo is unaware of JD’s career struggles and he remains oblivious to her affair.
The initial details you find in the debut are not major spoilers. To explain what the story “No Good Deed” is essentially about, I’d need to disclose information unveiled by the end of the first chapter (and no later). If you prefer to avoid any potential spoilers, please skip the following section.
The key initial revelation is that Paul and Lydia have been grappling with deep sorrow since their teenage son was killed three years ago, an incident that remains unsolved in the eyes of the public due to its connection to recent burglaries in the neighborhood. However, only Paul, Lydia, and Paul’s problematic brother Mikey (Denis Leary) are privy to the truth. It won’t be long before Paul and Lydia must delve back into the case and their emotional scars, teaching them crucial lessons about honesty and the destructive consequences of murder for a healthy relationship.
The plot seems to be a blend of “whodunnit” and “whoboughtit.” I would have titled it “A Murder of Escrow,” but “No Good Deed” isn’t bad either. Like “Dead to Me,” the show explores the dark paths that decent individuals can find themselves on, in their attempts to survive or acquire a move-in ready home with a citrus garden, decorative arches, and stolen crime scene evidence, located in East Los Angeles.
No Good Deed is a peculiar mix of mystery, quirkiness, and humor – imagine if You’re the Worst, House Hunters, and Alfred Hitchcock combined forces to create a show. It features sudden bursts of violence, characters resurfacing from the dead, bizarre misunderstandings, emotional breakdowns, and lots of pondering about the price point for acquiring a murder house in today’s market.
The plot is driven forward by the energetic music composed by Siddhartha Khosla (known for shows like Only Murders in the Building and Elsbeth), who has made “zany mysteries” his signature style. Additionally, the intense direction from Silver Tree and Feldman (for selected midseason episodes) explore every nook and cranny of the central residence as if they were intimately familiar with its hidden quirks and secret corners, even venturing into the plumbing and electrical systems in some iconic shots.
The quality of each part isn’t consistent, and the mystery segment appears to be the show’s Achilles heel as it takes an excessive amount of time to determine its purpose. There are far too many revelations that stretch credibility beyond repair, and the suspense isn’t intense enough to fill in the plot gaps. The conclusion is underwhelming, not leaving a sense of hope for future seasons to tie up loose ends. After the final episode, there seems to be only one storyline left unresolved, which may not be sufficient to warrant another season. However, Netflix hasn’t labeled it as a “limited series,” which is how it feels.
The deeply moving aspect of Paul and Lydia’s marriage in the series is how their turmoil is portrayed, with Kudrow and Romano delivering compelling performances that showcase their emotional distance. Feldman made an excellent choice in casting for Dead to Me, as she has consistently chosen her leads wisely. Both Kudrow and Romano have thrived post-sitcom, excelling in roles where their longstanding desperation becomes a defining characteristic of their characters.
Paul and Lydia have a strained relationship yet are deeply intertwined, leading me to ponder during the premiere if perhaps they were spirits trapped in a location they can’t escape. Instead, they’re emotionally drained individuals unwilling to abandon the place, and both Romano and Kudrow skillfully portray this weariness and vulnerability. Their connection is crucial, but it often leads to mutual pain. When these characters clash, their polished, humorous acting abilities dissipate, revealing their raw, exposed emotions.
Among the two performers, Kudrow truly shines due to her exceptional chemistry with the rest of the cast. While Romano has a comedic, implausible, and largely forgotten storyline involving Rogers, Kudrow consistently delivers humorous scenes with Cardellini and manages some great material with Leary, whose character is not miscast but rather underdeveloped in the script. Additionally, she shares amusing moments with Chloe East, portraying their on-screen family dynamic.
The subplots involving potential buyers are rich, yet they consist mostly of minor surprises rather than significant climaxes. Instead, these elements seem to add to the general confusion rather than providing any genuine emotional release or resolution.
The Leslie/Sarah narrative seems most independent, as Jacobson and Liu share a romantic warmth that advances the mystery well. Cardellini and Wilson’s lack of chemistry is understandable given their troubled marriage (and their home being a costly, modernist eyesore), instead, they provide ample humor – he with dry Los Angeles/Hollywood wit, she with a character whose sexual desires lean towards aggressive. Although Parris and Fagbenle deliver well, neither has a distinct enough voice to give their relationship the needed depth for it to seamlessly fit into this puzzle.
It’s most likely enjoyable to watch “No Good Deed” during episodes three to six. The bold-faced twists are amusingly absurd, the dialogue is sharp, and the subtle tension and resignation in Kudrow and Romano’s acting keeps it all feeling real.
Towards the end of the story, it becomes evident that No Good Deed is trying to wrap up loose ends. Even the characters appear to acknowledge the somewhat absurd elements.
According to what Wilson’s Job Description states, “It seems like more secrets are being uncovered, and unfortunately, they aren’t the pleasant kind.” I find myself echoing this sentiment, although his words may have been used in a different context; however, it’s challenging not to find fascination or humor amidst the unfolding events.
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2024-12-12 11:25